The Hip Hop Wars: What We Talk About When We Talk About Hip Hop--and Why It MattersHow hip hop shapes our conversations about race -- and how race influences our consideration of hip hop Hip hop is a distinctive form of black art in America-from Tupac to the Pulitzer Prize-winning Kendrick Lamar, hip hop has long given voice to the African American experience. As scholar and cultural critic Tricia Rose argues, hip hop, in fact, has become one of the primary ways we talk about race in the United States. But hip hop is in crisis. For years, the most commercially successful hip hop has become increasingly saturated with caricatures of black gangstas, thugs, pimps, and hos. This both represents and feeds a problem in black American culture. Or does it? In The Hip-Hop Wars, Rose explores the most crucial issues underlying the polarized claims on each side of the debate: Does hip hop cause violence, or merely reflect a violent ghetto culture? Is hip hop sexist, or are its detractors simply anti-sex? Does the portrayal of black culture in hip hop undermine black advancement? A potent exploration of a divisive and important subject, The Hip Hop Wars concludes with a call for the regalvanization of the progressive and creative heart of hip hop. What Rose calls for is not a sanitized vision of the form, but one that more accurately reflects a much richer space of culture, politics, anger, and yes, sex, than the current ubiquitous images in sound and video currently provide. |
From inside the book
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What We Talk About When We Talk About Hip Hop--and Why It Matters Tricia Rose. pains lived by those with the least. The problems in hip hop were apparent to me, too, but I also felt that their overall impact ... commercial hip hop. x Preface.
What We Talk About When We Talk About Hip Hop--and Why It Matters Tricia Rose. pains lived by those with the least. The problems in hip hop were apparent to me, too, but I also felt that their overall impact ... commercial hip hop. x Preface.
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... hip hop and players are embraced. It became clear to me that the public hostility toward hip hop— matched only by the self-destructive terms of embrace—were disabling progressive critique of this latest incarnation of commercial hip hop ...
... hip hop and players are embraced. It became clear to me that the public hostility toward hip hop— matched only by the self-destructive terms of embrace—were disabling progressive critique of this latest incarnation of commercial hip hop ...
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... hip hop as all-black and, because of this, black youth are marked by it and simultaneously invest in it heavily. Despite the diversity of fans and artists on the commercial margins, then, the public struggle over hip hop is waged over ...
... hip hop as all-black and, because of this, black youth are marked by it and simultaneously invest in it heavily. Despite the diversity of fans and artists on the commercial margins, then, the public struggle over hip hop is waged over ...
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What We Talk About When We Talk About Hip Hop--and Why It Matters Tricia Rose. Introduction I'd like to say to all the industry people out there that control what we call hip hop, I'd like for people to put more of an effort to make hip hop ...
What We Talk About When We Talk About Hip Hop--and Why It Matters Tricia Rose. Introduction I'd like to say to all the industry people out there that control what we call hip hop, I'd like for people to put more of an effort to make hip hop ...
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... hip hop during its earlier years of public visibility. In the 1980s, when rap's commercial value began to develop steam, gangsta rappers were only part of a much larger iconic tapestry. There were many varieties of equally positioned ...
... hip hop during its earlier years of public visibility. In the 1980s, when rap's commercial value began to develop steam, gangsta rappers were only part of a much larger iconic tapestry. There were many varieties of equally positioned ...
Contents
| 1 | |
| 31 | |
| 33 | |
2 Hip Hop Reflects Black Dysfunctional Ghetto Culture 61 | 61 |
3 Hip Hop Hurts Black People 75 | 75 |
4 Hip Hop Is Destroying Americas Values 95 | 95 |
5 Hip Hop Demeans Women 113 | 113 |
Hip Hops Defenders | 133 |
10 Nobody Talks About the Positive in Hip Hop 201 | 201 |
PROGRESSIVE FUTURES | 215 |
11 Mutual Denials in the Hip Hop Wars 217 | 217 |
12 Progressive Voices Energies and Visions 241 | 241 |
13 Six Guiding Principles for Progressive Creativity Consumption and Community in Hip Hop and Beyond 261
| 261 |
Radio Station Consolidation 274 | 274 |
Acknowledgments 277 | 277 |
Notes 279 | 279 |
7 Hip Hop Is Not Responsible for Sexism 149 | 149 |
8 There are Bitches and Hoes 167 | 167 |
9 Were Not Role Models 187 | 187 |
Bibliography 289 | 289 |
Index 293 | 293 |
Other editions - View all
Hip Hop Wars: What We Talk about When We Talk about Hip Hop--And Why It Matters Tricia Rose No preview available - 2016 |
Common terms and phrases
50 Cent African-American ain’t Al Sharpton available online behavior bitches and hoes black communities black culture black ghetto black music black people’s black urban black women black youth celebrities challenge chitterlings commercial hip hop conservative context conversation corporate create creative crime criminal defend destructive drug dysfunctional exploitation gangsta rap gender genre hip hop artists hip hop culture hip hop music hip hop wars homophobia hop’s hurts black hustler idea images of black impact Imus J-hood Jay-Z keeping it real kids labels larger listen live Ludacris Lupe Fiasco mainstream male masculinity misogyny Mos Def negative Nelly percent pimp political poor black problem profit programs progressive promote racial racism rap music rappers reality reflects responsibility rhymes role Russell Simmons sexism sexual Snoop Dogg social society song stereotypes stories street culture Talib Kweli talk thug tion violence visible Website young black